EVERYONE forgot ARR's Ayyappa deviotional from BOYS! It was in totally different.
On Sat, Jul 17, 2010 at 11:30 PM, jemsheed <[email protected]> wrote: > > > All these prayer songs 'sounds' simlar.. very easy find.. dont know > whasts the prblm in accepting it.. the fans only explains ARR is ready to > accept criticism.. > Using same raga and creating same mood for a same situation creates a > repetitive environement.then whats the creativity here... hope next time ARR > come up with a different 'type' of prayer song.. > btb puli is enjoyable, massy, here and there flashes of AR's genius but his > repetitions kills the mood.yep,puli for one or two months.. > > > --- On *Sat, 17/7/10, AJ <[email protected]>* wrote: > > > From: AJ <[email protected]> > Subject: Re: [arr] Blog review of Puli - Qn to ARR? > To: [email protected] > Date: Saturday, 17 July, 2010, 6:56 AM > > > > They are not the same tune, but similar raagas and similar moods. All these > devotional songs do not share the same tune. > > --- In > [email protected]<http://mc/compose?to=arrahmanfans%40yahoogroups.com>, > jemsheed <jemshee...@...> wrote: > > > > Straight qn to ARR? > > Should there be only one > > tune, when a lady is praying to the God? Why does Rahman repeat the same > > tune be it in Lagaan, Swades, Jodha Akbar (interestingly all Ashutosh > > Gowarikar films), Connections and now in Komram Puli? > > > > --- On Thu, 15/7/10, Gopal Srinivasan <catchg...@...> wrote: > > > > From: Gopal Srinivasan <catchg...@...> > > Subject: [arr] Blog review of Puli > > To: "arrahmanfans" > > <[email protected]<http://mc/compose?to=arrahmanfans%40yahoogroups.com> > > > > Date: Thursday, 15 July, 2010, 4:24 AM > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > http://life- n-coda.blogspot. com/2010/ 07/komaram- puli.html > > > > > > > > It’s been a long time since Rahman played to the gallery. He tried it in > Blue and other recent ventures of his only to be caught between > experimentation and cacophony. With S.J. Suryah, Rahman did get back to the > balance that he used to maintain in his hay days of commercial cinema where > the songs regardless of the experimentation were always foot tapping and > catchy, pleasing everyone. Though the audacity of the director to don the > grease pant was frustrating, it was sheer pleasure to witness them on silver > screen with all the gloss and not the mellowed down situational ones where > the songs were pushed to the background. But with Komaram Puli we will get > to see Pawan Kalyan so the visual segment of the song will surely be > entertaining. And the songs? Lets get to them one at a time. > > > > > Power star (Vijay Prakash, Tanvi Shah) > > Techno songs are always not easy on ears. With Rahman at fore we know > with the kind of experimentation (ring tones, car crash et all) it is bound > to be bizarre. It starts with the drums beating to the well known police > theme in Arabic influence fused with synthesized sounds creating and eery > feel whispering ‘power star’. It’s a cocktail of sorts after that, when the > ream of lyrics patronizing the ‘Yuva star’ moves from the electronic feel to > folkish style, backed by the genre trademark ‘organ’. Any hero worship song > from Rahman is not complete with the “hai hai” sound and here it is combined > with “blue blue” cry, reminiscing us of the blue theme. The beauty of this > cocktail is that after getting the grasp and when the familiarity sinks in, > the peppy adulating lyrics and the intricate modulations especially whenever > Vijay intensifies the mood as he acclimates to the top scale, grabs our > attention. > > > > Amma thale (Naresh Iyer, Swetha Mohan)There is the celerity and then the > melody. It seems to be repeating in loops. So what is this song? Doesn’t it > sound like it was poorly tacked together? If you stop right there, then you > are going to miss something special. As we take that notion away, the > celerity becomes a breathless travel into the nooks in whips, pacing our > heart only to be soothed by the melody. But the melody now doesn’t remain > only that; it becomes more of a funny retaliation to the rambling antecedent > and the fun increases with the curt notes of the violin & trumpet. So what > if the celerity is borrowed by “thee kurugiya” song from Kangalal Kaithu Sei > with heavy accent from “markandeya” of New; when each complete note of that > saranam layered using different instruments, attention turns to the > variation that Swetha brings to the note joined later by Naresh. Though > Naresh intensifies the tune to a great level, the “na nana na” > > > hampers the flow, only to be saved by the faithful trumpet with which > Naresh swiftly transforms the song into a classical one at the coda. > > > > Maaralante (A.R.Rahman & KMMC Choir) > > Maaralante is a double treat in that it will become the anthem of > Andhravalas and as a song that will become the identity of Power star for > the rest of his life. What is with Rahman and patriotic songs? When he sings > them, even the average tune raises goosebumps and with lyrics which > highlight the importance of change, the impact is even higher acclimating to > greater heights when he touches the top note for rendering “maa telugu > thali” backed by the cherubic choir; reminding us the “mannipaya” of VTV > effect. Rahman takes the song to the next level when he increases the > tension using carefully arranged instrument in the other half of the song, > which when we thought was the best it could get to, knocks us out with the > superb placement of Chandrabose’s punch line as the finale. > > > > > Maham Mahamaye (Javed Ali, Suchitra)Sometimes we just have to hand it > over to the guys behind the microphone and let them enthrall us. Even though > Maham Mahamaye seems to be Shankar Mahadevanish, Javed Ali gets into the > groove and comes up with a rendering that is packed with passion and gusto. > The consistently flat Suchitra is beautified with disciplined singing that > falls between zeal and childish joy. The alternation between staccato and > the melodic note of the pallavi that the singers perform in the later part > of the saranams, the majestic symphony in violin and the confluence of these > two towards the finale ends the song in a content note. > > > > Dochy (Shreya Ghoshal, Lady Kash 'N' Krissy) > > Gangster blues seems to have become police blues for this club number. > The rustic & erotic mood initiated by Krissy carries over to Shreya Goshal > which she blends well with the wiggling setup of the notes leaving us in > trance. The way she renders lowering notes of “aashalatho anveshanatho aapai > aapai adigai” and then climbs higher only to touch down safely into our > heart, makes us forget that this is just an item number. The Arabic > orchestration with organ sneaking in between at equal intervals under the > aegis of synthesizers takes us to an elevated state; not to mention the > firing sounds and the prickling guitar that fills the entirety of the song. > > > > Namakame (Chitra, Madhushree, Harini)Should there be only one tune, when > a lady is praying to the God? Why does Rahman repeat the same tune be it in > Lagaan, Swades, Jodha Akbar (interestingly all Ashutosh Gowarikar films), > Connections and now in Komram Puli? Lack of novelty apart, the choice of > different voice whenever there is a change in the notes and different > combinations of them makes the age old song intriguing and when Chitra takes > over with an alaap backed by mouth organ like sounding trumpet we are sent > back to the Duet days. > > > > > >
